The national attention has shifted rapidly from the Coronavirus pandemic, to the ongoing protests in the wake of George Floyd’s killing. For our company statement, please see our most recent blog post.

On the bright side, afternoon curfew means there’s plenty of time to catch up on new Laemmle Virtual Cinema releases, beginning with Willem Dafoe in Tommaso, from Abel Ferrara. There’s also Elisabeth Moss as the titular horror novelist in Shirley, as well as three new foreign language dramas. Lastly, we have American indie The Aerialist, along with art documentary Into Her Own.

Why do we need to say that? Isn’t it clear to everyone that this is an accepted truth?

Sadly, the answer is no. If you truly look at our country today (never mind its history), it’s clear that American society does not value, love, or protect black lives to the same extent it does others. This is not a charge leveled at any one individual, institution, or even system. Rather it is something that we need to wrestle with as a whole nation.

There are those who say that we must have “law and order” before we can address the issue of systemic racism. First, I would argue that “law” and “order” are not one and the same. For too many, “order” represents a maintenance of the status quo. But given the historic and endemic inequities in our society, the last thing we should be aiming for is a maintenance of the current order.

Change is needed. And it is needed now!

As for the “law”, it should be clear that the “rule of law” is only applicable when justice is applied fairly and equally, not only by the police, but also by prosecutors, judges, and juries. When the law is enforced in a discriminatory manner, we should not be surprised when those who most disproportionately feel the brunt of that discrimination lose respect for the institutions that are charged with enforcing that law.

All should be afforded equal protection under the law, regardless of the color of their skin.

Justice must be blind. If it is not, it loses credibility, and that should be unacceptable to us all. If we truly wish to see love and justice flow like a mighty stream, then we must root out all discriminatory practices, by exploring meaningful ways to address the current situation, and to redress past wrongs.

Freedom of expression is a core American value. Here at Laemmle Theatres, we are a company that believes in the right to raise our voices in collective assembly and protest. That should be clear from the films that we play, films which help us learn more about how others live, love, and think. These stories help us see that there is more which unites us, than divides us, and we are proud to exhibit them.

But that doesn’t mean we can’t do more.

Over the next few weeks, we’ll be taking a look at ways to further ensure that our programming choices remain diverse, democratic, and societally impactful. We’ll also be initiating conversations with local community leaders about how we can best engage underserved audiences, and help expose underrepresented populations to the liberating and creative joys of arthouse moviegoing and filmmaking.

While trying to fall asleep the other night, I watched John Ford’s classic western The Man Who Shot Liberty Valance. The film is perhaps most famous for the memorable line, “when the legend becomes fact, print the legend.” It’s a great quote, but it reminds me that as much as we all want to believe in the goodness of our country, it’s time that we reassess some of the things that we take as fact.

There is a real danger to us all “when the legend becomes fact.”

Instead, we need to remove our blinders, check our privilege, and identify the hidden prejudices that we practice. Only then can we truly begin to understand what it feels like to stand in the shoes of those who have been victimized by racial discrimination. This reckoning is the first step in a long process that will, hopefully, lift our communities and inspire the collective humanity within us all.

I’m going to try to do that.

And I hope you’ll all join me in a sincere effort to make our country the “more perfect union” that our founders envisioned.

Cinemas around the country are beginning to re-open, and although we’re still at least a few weeks away from that here in Los Angeles, it’s been fascinating to see the ingenious solutions being put forth to address the various public safety concerns.

I’d also like to thank everyone who participated in our recent audience feedback survey, which will remain open throughout next week. We hear your suggestions, and are actively looking for ways to improve the virtual experience until we can reopen (and maybe even after).

This week, I’d like to check in with you, and ask that you fill out this anonymous online survey about Laemmle Virtual Cinema. The information you provide will be used to refine our digital service, in order to best satisfy the needs of our audience.

As Los Angeles begins to reopen this weekend, I hope you venture out a bit, but remember to do so responsibly. We will only progress to the next phase of reopening (including movie theatres) if cases decline, so keep washing those hands and wearing a mask when out in public.

We begin this week with Spaceship Earth, the stranger-than-fiction true story of the eight individuals who spent two years quarantined inside Biosphere 2. Then two romantic comedies from France, On a Magical Night and Someone Somewhere. Next up is Brian Dennehy in Driveways, his final screen performance before leaving us a few weeks ago. And finally we have Mossville and Code Blue, two timely documentaries about the intersection of environmental justice and healthcare in America.

This is also the last week to see the American Indie comedy Phoenix, Oregon (our very first virtual release). Lots of good options… so please enjoy something this week, and help support indie cinema.

As we begin another long isolated weekend, I suggest making a nice pot of homemade soup, opening a bottle of fine wine, and enjoying one (or more) of today’s select new film releases.

We begin with Academy Award-winner Jean Dujardin in Deerskin, a dark comedy about a man obsessed with his own jacket. Capital in the Twenty-First Century is a documentary based on the international bestseller by economist Thomas Piketty. Combining documentary footage with re-enactments, The Infiltrators examines our immigration detention centers from the inside, even as the crisis on the border is pushed from the front page news. Nuestras Madres is a searing look at the aftermath of a quiet civil war in Guatemala, and the role women played in bringing those responsible for atrocities to justice. And lastly, a big hit on the Jewish film festival circuit, Crescendo mirrors conductor Daniel Barenboim’s real life efforts to build bridges of coexistence through the formation of an Israeli-Palestinian youth orchestra.

This is also your last chance to see And Then We Danced or Saint Frances before before they leave our virtual cinema. I’d also like to thank you one more time for your continued support so far. Every purchase helps ensure that we reopen strong.